The Jason Scheff co-written “Caroline” seems to be making the same old mistakes, until a key figure from Chicago’s modern era arrives to save the day.

“King of Might Have Been” really wants to go somewhere, and Chicago once again tries with painful obviousness to get it there.

Working with Rascal Flatts certainly wasn’t conventional. But at this point Chicago’s sails had been slack for more than a decade. They had nothing to lose.

The completely unnecessary ‘Chicago XXVI’ was just a cash grab meant to lure fans into re-buying familiar songs. A flaccid bonus-track remake didn’t help.

Chicago added three inoffensive new studio songs to this concert recording, and “If I Should Ever Lose You” is the best of a half-hearted bunch.

There is nothing inherently wrong with Chicago’s “Back to You,” if you’re a fan of middle-of-the-road pop that lacks any hint of adventurism.

Of the four songs released on Chicago’s two ’90s-era greatest-hits albums, “Show Me a Sign” is my third favorite.

Chicago’s “Here In My Heart” is special to me, and every time I hear it I reminisce about my last two months of middle school and the broken heart I had.

It wasn’t a daring break from the past, but at least “All Roads Lead to You” was new music that played to Chicago’s strengths.

Ironically named, Chicago’s Lenny Kravitz-produced “The Only One” is frustrating because it keeps you wanting and wishing for more.